Employing the Max Schlossberg Daily Drills and Technical Studies For Trumpet, I play (every day, without fail) the following lip slur numbers for warmup and cool down:
14, 15, 18, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 32, and 35. The rest period beween each exercise should approximate the time that was required to play the preceeding exercise. They are boring, time consuming and VERY EFFECTIVE!! They should be played in numerical order, exactly as written. I have been playing these same exercises in this exact order, for 60+ years. If I could find anything that is more interesting or more "fun" to play, that worked as well for me, I would have changed years ago. I have had "iron chops" since the age of nine, which I credit to the Schlossberg Studies, which I first received in hand written form, from Harry Freistadt, Mr. Schlossberg's son in law

How can you NOT practice lip slurs! They are absolutely essential to playing the instrument. You cannot play a fast ascending A minor 7 chord without having great flexibility, you also cannot play a fast ascending E major 7 or E minor 7 chord with proper lip slurring technique, unless you tongue every note, just for two examples, there are many others.

Sorry for bumping an old thread however really pleased to say that I've been following the Dave Belknap routine for Schlossberg daily with great results. Before then I utilized Frink's daily routine and have now switched to the Belknap series of exercises. Really does a great job of building the embouchure. I usually throw in a couple of Frink exercises at the end and add some Clark tonguing and am ready for the day. For the Schlossberg set - I have all 15 exercises copied (also in order so to avoid page turns). We will see how this goes but its tough to argue with a guy who made his living as a trumpet player in LA. Really great that he posted his routine at Trumpet Herald years ago.

Sorry for bumping an old thread however really pleased to say that I've been following the Dave Belknap routine for Schlossberg daily with great results. Before then I utilized Frink's daily routine and have now switched to the Belknap series of exercises. Really does a great job of building the embouchure. I usually throw in a couple of Frink exercises at the end and add some Clark tonguing and am ready for the day. For the Schlossberg set - I have all 15 exercises copied (also in order so to avoid page turns). We will see how this goes but its tough to argue with a guy who made his living as a trumpet player in LA. Really great that he posted his routine at Trumpet Herald years ago.

There is another current thread where a player is also using this as a routine with good result. I started doing it a little over a week or so ago and as long as I try to pay attention to things I notice the next day gets better.

In his explanation he says he does it for warm up and cool down. I cannot manage that if I get a few hours of other work in too. I just play as far as I can and try to get farther next day. I figure if it's a cool down I shouldnt sweat it too much. The guy must have had chops of steel to warm up on it play gigs and use it to cool down. I sure got a way to go to get that down comfortably.

How long did it take you to get there using this? I don't want to start a day with sore chops if it's not necessary.
Rod

There is a difference between lip slurs and flexibilities. The ones in the first few pages of Schlossburg are slurs and work well for warming up. Irons and Smith are flexibility. Most trumpet players need to practice both types daily in order to play their best. If you don't, then consider yourself lucky.

I find that just doing slur exercises doesn’t give me accuracy on slurs especially when descending. Instead I have started doing a few schlossberg exercises then working on a very melodic song. What do you guys think of this approach?

They are one of two ways of changing the pitch on the trumpet. The other is using the valves. Playing music on the trumpet is a combination of both. They have many benefits including flexibililty and being able to connect all registers middle high and low efficiently, so the feel for example of a low C and a a high C is not that different.

who needs strength and flexibility.
curious comment from the OP about recording results in a journal. i would throw the thing out. a book is not going to replace your ears. i couldn't verbalize what is going on with my overtones let alone coherently write it down.
free yourself up there lad.

Wow, this is a really old thread! But I was fascinated by the attitude to lip slur exercises, perhaps I can revive the thread because I think I may have something to offer here. Back in the early 70s my trumpet playing did not seem to be going anywhere, I was okay but only average. Back then here in the UK we had the 'Melody Maker' paper (mostly pop and jazz focus). One day I read a leading trumpet player describing what he practised. Can't now recall who it was, but possibly Kenny Ball or Kenny Baker (Two outstanding Brit trumpeters in their day). He (whoever it was) said you must do lip slurs to improve your range. Bottom C to mid C, then on upwards, ending on top C up to G above top C. I recall thinking I can't go that high but - lo and behold - within 3-5 weeks of starting this slurring exercise I could indeed slur right up to G above top C and it was quite easy to do. From then on, my range indeed went up to G or A above top C, and it was regular, not just on 'good' days!_________________Comeback Horn at 73